It’s time to talk about Hot Chip‘s perpetually classy live show. Continue reading Still chipper
Themes of marriage and commitment work surprisingly well in music that isn’t rock. In “My Love”, Justin Timberlake asks if his girl would “date him on the regular” and refers to a “ring” that “represents his heart”, over one of the finest R&B tracks in my lifetime. More recently, Beyoncé used “Single Ladies (Put A Ring On It)” to implore young men to make that commitment, in order to prevent the pains of post-breakup jealousy. Conversely, in rock music, similar subjects all-too often fall flat and limp and mawkish. It’s little wonder some of my favourite music is so dark, because an awful lot of empowering music is unavoidably dull and derivative.
Hot Chip fall neatly into this marital R&B turf, boasting an array of catchy hooks and melodies that would function just as well were they not to be serviced by an arsenal of squelching synths and chart-reflecting beats. Their music veers exceptionally close to soul, and also to the idiosyncratic songwriting of Robert Wyatt and Paul McCartney, albeit with a modern instrumental bent. Following the everything-and-the-kitchen-sink approach taken on 2008’s Made In The Dark, the band has toured relentlessly, refocused, and emerged with a triumphantly mature new record, entitled One Life Stand. No more a bachelor, and now encumbered by the responsibilities of fatherhood, frontman Alexis Taylor has helped forge an album that is considerably more pruned down, and lacking the quirky excesses that previously plagued some of their weaker material.
One Life Stand is… solid. In places, as on the New Order-ish opener, “Thieves In The Night”, it is inspired. Elsewhere, it sees the band knuckle down and write richly melodic and warming songs about the joys of companionship and brotherhood. The album’s opening quartet of songs recall various eras of dance music – synth pop, disco, house, piano-stomping Motown. To the band’s credit, it never sounds too well-trodden, and, in the title track, they re-earn the truly great electro-pop crown previously bestowed upon “Ready For The Floor” and “Over And Over”.
Then, the band tones thing down for a middle section that some will find… slushy (sorry!), but other will cherish for its broad and smile-inducing balladry. Of particular interest is the afore-referenced “Slush”, which emerges from a bizarre vocal warm-up exercise and takes a while to get going. But when it does, it is properly good, and fashioned from a very McCartney II-esque mould. Four minutes in, a beautifully subtle brass arrangement combines with almost tear-jerking steel drum, creating a final two-and-half minutes of downbeat, melancholy yet utterly compelling music which defies genre. As the song is swallowed up by a foetal fog of atmosphere dust, you would be a cold-hearted creature not to be touched by it in some way.
The final three tracks see a return to Hot Chip’s preoccupation with electronic music. “We Have Love” is shadowy and danceable, and unfolds like a less crazy version of the last album’s “Don’t Dance”; “Keep Quiet” is sinister and rides along vaguely tropical percussion and synth glows that would not have gone amiss on the Fever Ray album. Finally, we are left with the triumphant house of “Take It In”, which performs the band’s great trick of shifting suddenly from a faintly worrying minor-key verse to an anthemic major-key chorus, with precision-honed perfection.
One Life Stand will probably bore a lot of listeners. It doesn’t radically alter the landscape of quasi-dance music; it doesn’t permit the band to indulge in their more insane electronic compositions. Instead, favouring a more subtle strategy of writing more-than-competent pop songs, the band’s new focus and concision pays great dividends. Never messy or sprawling, One Life Stand is a well-sequenced work that never outstays its welcome, and I think Hot Chip have finally created an album-lover’s album.
Much as I enjoyed Hot Chip’s third album, Made In The Dark, I’ll admit that it was a slightly cluttered, claustrophobic listen. There was a lot going on in some of the tracks – “Shake A Fist” and “Don’t Dance” in particular – and though this was offset by the sparser, more low-key numbers (the title track, for instance, was a masterpiece of concision), the overall vibe was very busy and slightly unfocused. Which is why I’m very excited by the literature surrounding the band’s forthcoming fourth album, entitled One Life Stand because a range of sources have suggested that it will be a more stripped-down and focused affair – an album’s album, if you will.
The album’s release is being preceded by a digital release of the title track which, in truncated form, occupies a radio-friendly three-and-a-half-minutes. And it’s a great pop song, in the catchy mould of “Ready For The Floor”, albeit with an added jaggedness and bite. “Tell me where you’ve been… where you’ve been staying” whispers Alexis Taylor in his most conspiratorial tone, backed by clattering steel drums and a synth line rich in overtones. After a time, synth-wizard Joe Goddard pipes in with a somewhat supernatural moan which continues throughout the chorus, followed by one of the most glorious, buzzing synth melodies I’ve heard in a long time. “One Life Stand” is foreboding and seductive; its relatively simplistic structure belies the love of pop music beating at its core. It’s a wonderful addition to the band’s catalogue of cult classics, and I really do expect it to break high into the charts.
Hot Chip – One Life Stand (embedding disabled by Parlophone, joyless souls that they are)